Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Cerramos esta edición de post(s) con tres poemas de Sonia Guiñansaca. Elle nació en Ecuador y migró con sus padres Estados Unidos cuando tenía cinco años. Sus poemas están marcados por la experiencia de la migración "”crecer sin papeles y pelear por los derechos de otros como elle"”, las múltiples fronteras que atraviesan su historia y una sensibilidad capaz de demandar desde la nostalgia y la lucha. 

In this paper I will reflect about two artistic residency experiences where I participated as member of the artistic epupillan mapuche "Catrileo+Carrión" community. This reflection will seek to outline the procedures through which we engaged with two different communities, La Mesa de la Mujer Rural de Toltén and the Comunidad de Tejedores de Neltume in the borderland indigenous territory of Chile called Wallmapu. Through two epupillan Mapuche procedures: poyewün nütram/trawün (affective conversation/reunion) and trafkin kimün witral (weaving knowledge exchange), we collectively created two publications, a video-essay and a mixed media installation, respectively. These two methodological procedures will be conceptualized as a way of resisting coloniality of knowledge reflecting along with Qwo-Li Driskill"™s (2015) decolonial skillshares practice/idea. Finally I will outline the impact of these procedures both for our collective practice and for the communities we collaborated with.

This article examines how the translation of concepts such as queer and cuir theory, intersectional feminism, antiracism, and Indigenous thought always run the risk of failing in the context of hemispheric dialogue (that is, regarding the Américas--Turtle Island and Abya Yala). Specifically, critical approaches to gender, sexuality and race generate what this essay proposes as the desiring impasse of translation. This impasse produces desiring reverberations that at the same time generate other forms of seeing, feeling, and understanding different (and dissident) forms of embodiment. This article dwells on moments of rupture that signal how the work of hemispheric dialogue--a dialogue that aims to undermine the imperial domination of the United States in terms of the production of knowledge--depends on imperfect translations; on embodied proximities, gestures, affects, which in any moment may end in violence, failure, or silence. This text advocates for a praxis of incompleteness, a desiring but never perfect desire for translation that pays attention to situated knowledges while also refusing to erase epistemic differences.

This paper explores how sound operate as a modality of knowing (Ochoa Gautier, 2014; Feld, 2015), in particular, a mestizo aural experience of two contemporary Ecuadorian composers: Daniel Mancero and Nicola Crúz. Through an affective reading of my process of listening  (Kapchan, 2017), or what Christopher Small denomitates musiciking (Small, 1998), of two albums: Yangana and Prender el Alma, I propose to understand music as an aural topography that discloses a particular configuration and undestanding of the space, in which political ramifications emerge. Music as form of decolonial art that christalizes colonial power relationships, at the same time that sketches new possibilities from diverse surfaces: a decolonial-ecological reading of the artwork and the listening process as acts of affective inscription (Deleuze & Guattari, 1987; Feld, 2015; Mignolo W. , 2014; Ochoa Gautier, 2014).

This article proposes an approach to the cult of María Lionza in Venezuela, starting from the "spiritual medium" to the "artist medium" as vehicular devices of transmission and communication, which move "between two spiritual worlds" from the body as image and death. In this case, ritual "mediation" is analized in artistic processes from video performance and video installation, proposing crossings, dialogues and tensions from my condition as (officiant-devotee).

What is the political place to imagine a process of Mapuche self-determination that considers other sexualities different than heterosexual? Why make epupillan memory visible? These and other questions open the reflection on the possibility of drawing a Mapuche epistemology that considers the political potence of non-reproduction.

The erasers series is a set of actions-interventions in which the eraser is used as the drawing tool applied to smog-stained walls. These actions-interventions are recorded through photography and video. On the one hand, it is a reflection of drawing as a language in its relationship with architecture and urbanism as a medium, exploring various visual forms - such as sign language, visual poetry and popular graphics - using the spontaneous and ephemeral gesture. of graffiti and, on the other, proposes to activate critical comments regarding issues such as the environmental crisis, freedom of expression, and decolonization in the current configuration of urban imagery.

The dense-Andean symbolic ritual enables a form of mediation between the divine, earthly, digital, analog worlds, conjugated and eliminated all at once. In the Andean density, the ritual is the usual and the noise refers directly to the day to day, it breaks with the divine condition of the western ear and the subjectivity of the interpreter, rescuing the belonging of sono-symbolic experiences to daily life in a cloak of sound that extends from our bodies and its internal noise amplified to the environment.

In this essay I speak of two artworks, that are located at the intersection between transcreation and ethnopoetics. I understand these resources as means to generate a proposal that allows the creation of a new territory or zone of contact between contemporary art and indigenous cultures, where dialogical and participatory relationships between contemporary art and the ontological knowledge of our cultures can be explored.  

Este trabajo de investigación partió del supuesto que los cambios de paradigma en la educación especial contribuyeron a generar la transformación de las instituciones que se dedicaban exclusivamente a la formación laboral en escuelas de educación integral (EEI) y centros educativos integrales y terapéuticos (CEIyT), lo que implicó un importante cambio en las prácticas pedagógicas. Se realizó un relevamiento del estado de situación de las EEI y CEIT de la provincia de Entre Ríos, sus estrategias, definiciones, aspiraciones, en relación a las prácticas educativas vocacionales ocupacionales (PEVO). En la provincia funcionan instituciones de educación integral que cuentan con propuestas de formación laboral ocupacional con variadas cargas horarias, desarrollos didácticos-pedagógicos y prácticas educativas. Mediante Resolución N.° 3742/11 del Consejo General de Educación (CGE) los estudiantes de estas instituciones que finalicen los trayectos formativos y los módulos de los cursos de formación profesional podrán recibir la certificación oficial correspondiente a la capacitación laboral que se encuadra en los lineamientos de la educación técnico profesional de la provincia, dirección con la que se trabaja articuladamente para la evaluación y aprobación de las diferentes propuestas de formación. En el marco de la formación laboral ocupacional (FLO), las EEI y CEIyT, desde el año 2011 cuentan con la Resolución N.° 3743/11 CGE que encuadra las PEVO favoreciendo la celebración de convenios con organismos/ empresas públicas o privadas, garantizando espacios de integración socio-educativo y participación concreta de los estudiantes en el ámbito laboral. Investigación financiada por el Fondo Nacional de Investigaciones de educación Técnica Profesional del Instituto Nacional de Educación Tecnológica (INET), Ministerio de Educación, Cultura, Ciencia y Tecnología. ARK: http://id.caicyt.gov.ar/ark:/s18511562/2i69lx2d3